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Sculpture
is both intuitive and rational:
I
have studied with artists who work intuitively - take a mass of clay and
squeeze it, learn it (smell it, taste it).
Pushing and pulling, form evolves as the artist responds directly
to the material. This is a
sensual method, involving direct physical responses to the weight,
temperature, texture, smell, etc. of the material.
The final product may be only dimly seen at the beginning of the
process, eventually self-generating out of the immediacy of this approach.
I
studied with several designers who work rationally, starting with concepts
and developing designs on paper long before materials were engaged.
Concepts that might be discussed, dissected, inverted, tested and
resolved. The work may be
measured against the original concept; or, sometimes the original concept
is measured against the developing work.
This approach is as much thought exploration as it is
three-dimensional development.
I
strive to achieve work in which the rational and intuitive are both
present. Sometimes
in my work physical intuition dominates, sometimes rational concept.
Sometimes the body, sometimes the mind.
The most sensual sculpture has a strong conceptual base, the
most conceptual sculpture presents a vivid sensuality.
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